MCB 2011-12 Season

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The waiting is finally over. She'll be back with us to die again of love and madness...

WELCOME BACK, DARLING!!!

PRESS RELEASE:

February 24, 2011

MIAMI CITY BALLET

Miami Beach, FL (Feb. 24, 2011): Miami City Ballet is proud to announce its 2011-2012 season: a celebration of dance by the world’s greatest choreographers. The new season also brings to South Florida audiences a World Premiere ballet by Liam Scarlett, the talented young choreographer from London’s The Royal Ballet, and the return of two audience favorites, the full-length productions of Giselle and Coppélia. The holiday season will find George Balanchine’s The Nutcracker™ gracing the stages in Miami and Fort Lauderdale this December.

The 2011- 12 season runs October 2011 through April 2012 at the Adrienne Arsht Center in Miami, Broward Center in Fort Lauderdale and Kravis Center in West Palm Beach. Current subscribers will receive their renewal information by March 1. New subscribers can call the Miami City Ballet Box Office at (305) 929-7010, toll-free (877) 929-7010 or visit www.miamicityballet.org.

There is NO increase in subscription ticket prices from last season. Prices range from $69 to $635. In addition, all subscribers are offered priority discount seating to George Balanchine’s The Nutcracker™.

Program I opens the season with four compelling ballets that run the gamut from classic to contemporary: George Balanchine’s breezy and exuberant American classic, Square Dance; Jerome Robbins’ Afternoon of a Faun, a riveting duet between a young man in a dance studio absorbed by his reflection in a mirror, and a young woman who interrupts his reverie; Christopher Wheeldon’s Liturgy, an intensely sensual and haunting pas de deux, set to the contemporary sounds of composer Arvo Pärt and In the Upper Room, Twyla Tharp’s explosive, signature masterwork – an endurance test filled with power and speed, leaving the audience, and dancers, breathless.

The highlight of Program II is a still-to-be-named World Premiere ballet by Liam Scarlett, The Royal Ballet of London’s most successful young choreographer. He has accepted a commission from Miami City Ballet to create his first work for an American company. A coup for South Florida audiences! Also on this program are In the Night, Jerome Robbins’ valentine to love, experienced through three glamorous pas de deux, danced against a star-studded night sky to Chopin’s ravishing piano music, and Ballet Imperial, a Balanchine masterpiece he described as “a contemporary tribute to Petipa, the father of classical ballet, and to Tchaikovsky, his greatest composer.”

The final two programs of the season bring to the stage two full-length classics: Program III with Giselle, the quintessential 19th –Century romantic ballet – telling the story of a young peasant girl betrayed by her disguised aristocratic lover and Program IV with Coppélia. The charm and humor of this classic romantic comedy, plus the sheer joy of its Delibes score, have kept Coppélia in the repertory ever since its Paris premiere in 1870.

The 2011-12 season will also feature the audience holiday favorite, George Balanchine’s The Nutcracker™ this December at the Adrienne Arsht Center in Miami and Broward Center in Fort Lauderdale. A delightful treat for the entire family, with beautiful sets, lavish costumes, dazzling special effects and Tchaikovsky’s glorious music, featuring a large cast of talented children from South Florida performing with MCB’s international ballet stars.

Current subscribers will receive their renewal information by March 1. New subscribers can call the Miami City Ballet Box Office at (305) 929-7010, toll-free (877) 929-7010 or visit www.miamicityballet.org. There is NO increase in subscription ticket prices from last season. Prices range from $69 to $635. In addition, all subscribers are offered priority discount seating to George Balanchine’s The Nutcracker™. Group Discounts (10 or more) are available now by calling (305) 929-7001 or toll-free (877) 929-7001.

The 2011-12 season is as follows:

Program I

Square Dance (Balanchine/Vivaldi and Corelli)

Afternoon of a Faun (Robbins/Debussy)

Liturgy (Wheeldon/Pärt)

In the Upper Room (Tharp/Glass)

Adrienne Arsht Center for the Performing Arts, Miami

Friday, October 21 at 8p.m.

Saturday, October 22 at 8p.m.

Sunday, October 23 at 2p.m.

Broward Center for the Performing Arts, Ft. Lauderdale

Friday, October 28 at 8p.m.

Saturday, October 29 at 2p.m.& 8p.m.

Sunday, October 30 at 2p.m.

Kravis Center for the Performing Arts, West Palm Beach

Friday, December 9 at 8p.m.

Saturday, December 10 at 2p.m.& 8p.m.

Sunday, December 11 at 1p.m.

Program II

New Ballet by Liam Scarlett – World Premiere

In the Night (Robbins/Chopin)

Ballet Imperial (Balanchine/Tchaikovsky)

Adrienne Arsht Center for the Performing Arts, Miami

Friday, January 6 at 8p.m.

Saturday, January 7 at 8p.m.

Sunday, January 8 at 2p.m.

Kravis Center for the Performing Arts, West Palm Beach

Friday, January 27 at 8p.m.

Saturday, January 28 at 2p.m. & 8p.m.

Sunday, January 29 at 1p.m.

Broward Center for the Performing Arts, Ft. Lauderdale

Friday, February 3 at 8p.m.

Saturday, February 4 at 2p.m. & 8p.m.

Sunday, February 5 at 2p.m.

Program III

Giselle (Coralli and Perrot/Adam)

Adrienne Arsht Center for the Performing Arts, Miami

Friday, February 17 at 8p.m.

Saturday, February 18 at 8p.m.

Sunday, February 19 at 2p.m.

Kravis Center for the Performing Arts

Friday, February 24 at 8p.m.

Saturday, February 25 at 2p.m. & 8p.m.

Sunday, February 26 at 1p.m.

Broward Center for the Performing Arts

Friday, March 9 at 8p.m.

Saturday, March 10 at 2p.m. & 8p.m.

Sunday, March 11 at 2p.m.

Program IV

Coppélia (Saint-Léon/Delibes)

Broward Center for the Performing Arts

Friday, March 23 at 8p.m.

Saturday, March 24 at 2p.m. & 8p.m.

Sunday, March 25 at 2p.m.

Adrienne Arsht Center for the Performing Arts, Miami

Friday, March 30 at 8p.m.

Saturday, March 31at 8p.m.

Sunday, April 1at 2p.m. .

Kravis Center for the Performing Arts

Friday, April 13 at 8p.m.

Saturday, April 14 at 2p.m. & 8p.m.

Sunday, April 15 at 1p.m.

George Balanchine’s The Nutcracker™

Adrienne Arsht Center for the Performing Arts, Miami

Thursday, December 15 at 7:30p.m.

Friday, December 16 at 7:30p.m.

Saturday, December 17 at 2p.m. & 7:30p.m.

Sunday, December 18 at 1p.m. & 6:30p.pm

Broward Center for the Performing Arts, Ft. Lauderdale

Wednesday, December 21 at 7:30p.m.

Thursday, December 22 at 2p.m. & 7:30p.m.

Friday, December 23 at 2p.m. & 7:30p.m.

Saturday, December 24 at 1p.m.

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Giselle will have presumibly Kronenberg/Guerra at opening night, but whom I REALLY want to see is Jeanette-(debuting...?)-in the role partnered by Reyes and then sis Patty with Trividic...and PLEASE, PLEASE, PLEASE...Miss Callie Manning as Myrthaaaaaaaaaaaa!!!!!

As Swanilda I want Catoya partnered by Rebello-(he would be a wonderful Franz for her)- and Carranza paired with Panteado...

I think I will e-mail my suggestions to the Powers That Be at MCB...

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Programs I and II are the big draws for me -- especially Square Dance, Ballet Imperial, and the two Robbins works. It strikes me as odd that MCB did both Balanchine ballets just a few years ago. I was hoping for Apollo,which they haven't done since 2002. I have the feeling that Trividic would be wonderful in that role.

I agree completely about Callie Manning for Myrthe and about giving Jeanette Delgado a shot at Giselle. (She'd be perfect, I think, as Coppelia as well.)

It's sad to note that the Balanchine Nutcracker will not be making it up to the Kravis Center in West Palm Beach this season, leaving us, most likely, with only that so-so Russian touring company whose name, for some reason, eludes me.

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Mm...I'm dual about her, at least as per right now. I loved her as the Sugar Plum Fairy, but not so much in Diane&Actaeon...

About Coppelia, Kleber Rebello has wonderful character qualities, great stage presence-(very fluid)- and solid technique-(he definitely outshone Guerra in R&J)-, and that's why I point at him as a perfect Franz-(he has that childish, mischievous look the character requires)-but his situation is more or less that of Herman Cornejo, about being a short dancer. The only ballerina I can think of who could look good next to him is Catoya, and she hasn't danced that much lately. I think Coppelia would be a PERFECT opportunity to show him in his full range. Please, Powers That Be...take notice of that...

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Delgado in Ballet Imperial, definitely. I don't think she has danced this. At least, I did not see her when it was done in 2006 and 2008.

And why not Square Dance? Delgado has already danced it (with Penteado in 2008).

Regarding Arja: Cristian and I agree that she has great promise (we both saw her surprisingly mature Sugar Plum Fairy this winter) AND also that she needs guidance in certain areas. Sometimes it seems that very young dancers who are pushed to imitate grownups in the big bravura pdd's for competition can end up looking limited and even mannered onstage in other work. I trust the MCB coaches to work with her well. It was wonderful to watch Arja in Promethean Fire, committing herself to a very different style and working as a real member of the team.

Re Rebello: Much talent, I agree. His work in Nutcracker (Soldier, Candy Cane) was a standout. He can also lose focus, and therefore energy, on stage when not at the center of things, another problem than some ballet prodigies seem to have.

Meanwhile, there are so many other MCB dancers at all ranks to look forward to next season. I hope we'll have the chance to see as many of them as possible in challenging roles during 2011-12.

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Meanwhile, there are so many other MCB dancers at all ranks to look forward to next season. I hope we'll have the chance to see as many of them as possible in challenging roles during 2011-12.

Definitely, bart. I want to see more of Reyes-(whom since joining the company as Principal hasn't danced that much). Ditto with Isanusi, Trividic, Albertson and Patricia. They are all Principals, but they always seem to be relegated to secondary or character roles.

Ideal casts for Giselle:

Giselle-Jeanette Delgado

Albrecht-Reyneris Reyes

Myrtha-Callie Manning

Hilarion-Isanusi Garcia

Zulma/Moyna- The Esty Sisters

Giselle-Jennifer Kronemberg

Albrecht-Carlos Guerra

Myrtha-Zoe Zien (Corps member)

Hilarion-Didier Bramaz

Zulma/Moyna-Jennifer Lauren, Nicole Stalker

Giselle-Patricia Delgado

Albrecht-Yann Trividic

Myrtha-Tricia Albertson

Hilarion-Marc Spielberger

Zulma/Moyna-Amanda Weingarten, Zoe Zien

Giselle-Katia Carranza

Albrecht-Renato Panteado

Myrtha-Jennifer Kronenberg

Hilarion-Reyneris Reyes

Zulma/Moyna-Ashley Knox/Nathalia Arja

Giselle-Mary Carmen Catoya

Albrecht-Kleber Rebello-( )

Myrtha-Callie Manning

Hilarion-Isanusi Garcia

Zulma/Moyna-Zoe Zien/Nathalia Arja

And please, please, please...let's have someone credible as Berthe!! This little detail can really enhance or destroy the whole atmosphere of Act I-(let's not forget the unfortunate Royals of Aurora's Wedding a little while ago...). Can Roma Sosenkoplease step in...?

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How about the Peasant Pas de Deux? Speaking only for myself, I'd like to see what Rebello makes of that before I'd give him Albrecht. (But I've been wrong about young dancers before.)

Didier Bramaz was an excellent Hilarion the last time they did this. I like your suggestion of Marc Spielberger, too. He's under-utilized. I'd give Cerdeiro a shot as well, though he's taller and rangier than your usual Hilarions. All three would be in the tradition of the "decent" (or nice-guy) Hilarions. Garcia-Rodriquez, who has also danced this part if I recall correctly, is one of your rougher, tougher Hilarions. I don't know enough about Reyes to imagine him as Albrecht, but I do see him as a Hilarion in a similar mold.

i agree 100% about the frequent (and frequently woeful) miscasting of Berthe. I think that MCB abbreviates Berthe's miming, which means you really need someone who can communicate her feelings and tell her story convincingly and with passion. And, while we're at it, I wish more attention was paid to casting Bathilde. She's a princess, for God's sake !!! And a real woman with a real attachment -- though different from Giselle's -- to Albrecht.. All too often she comes across as an spoiled, dried up, poorly dressed prom queen.

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Ah, that's right, the Peasant PDD...!!-(sorry, it's just that I keep visualizing the Cuban version, which makes it into a Grand Pas de Dix, using the exact same choreography, but for four couples plus two more girls...

Now, for the PPDD I can think of several people. All the Principal Women-(nor sure about Wu)- could fill the role-(I love this couple danced by well prepared Principals...please, no fillers here...). If not, the Esty Sisters, Arja, Zien and Lauren could be great candidates. As for the males, I'd go for Zou, Rebello, Breden and Cerdeiro.

For Bathilde I can only think of Miss Manning. This role-(just as Berthe)-is one that can really save a performance or destroy it completely if done sans conviction. Manning could be the key here. Few young dancers I've seen with the royal carriage that she displayed as Lady Capulet. Other candidates..? Albertson, Carranza and Kronenberg.

And yes, bart...I'm planning a Gissellethon...!!

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i agree 100% about the frequent (and frequently woeful) miscasting of Berthe. I think that MCB abbreviates Berthe's miming, which means you really need someone who can communicate her feelings and tell her story convincingly and with passion. And, while we're at it, I wish more attention was paid to casting Bathilde. She's a princess, for God's sake !!! And a real woman with a real attachment -- though different from Giselle's -- to Albrecht.. All too often she comes across as an spoiled, dried up, poorly dressed prom queen.

Good points! I agree with both you and Cristian on the Berthe problem, I do believe she needs to really take command of her big moment with the mime (assuming the mime is done of course!) or there is a big of a dramatic hole in the first act.

I've noticed a lot of bad Bathildes, too. A good indicator of how the character should behave is her exit after the confrontation with Giselle/Albrecht. If Bathilde picks up her skirts, tosses her hair, and then flounces off the stage like Scarlett O'Hara in one of her snits, then I feel Bathilde has missed the tone of her character. Bathilde is a bit haughty and imperious, but kind, has a sense of her importance, but has also has breeding. No noblewoman of that era would lift her skirts and show her ankles.

The Bathilde thing is certainly not as important as Berthe being effective, it's only a minor detail, but I do get a chuckle when I see a Bathilde that doesn't understand the conventions of the time and place. It seems like dancers don't always get a lot of training or coaching in using costumes.

On a variation of the same principle, I noticed the normally lovely Darci Kistler flouncing her skirt around as LAdy Capulet in the NYCB Romeo+Juliet. Repeatedly she would lift her skirts and show her ankles and lower shins when she was making a dramatic movement covering a span of the stage. No, Darci, the idea isn't to look like Betty Grable. Wrong period.